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Record Reviews

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Below are some recently posted reviews.

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POISON IDEA:
Kings of Punk (Bloated Edition): CD
When you look at an album cover and see a bovine-like beer belly carved up with X-acto gashes that crudely spell out a band’s name, you can rest assured that, by buying this particular recording, you’re getting a genuine strain of hardcore nihilistic punk that will tear your nostrils open, separate the meat from your skull, and pin the ragged flaps of your face back against your ears. The photograph of Jerry A’s X-acto work in scarification “branding” on the Kings of Punk cover is like the Good Housekeeping seal for punk nihilism; it tells you in no uncertain terms: this is the most “rotten, dirty, damnable, filthy, putrid, filth” your money can buy—satisfaction guaranteed. Now of course, whether or not the malcontents in Poison Idea were really proper “nihilists” is debatable. They were most likely not nihilists in the sense that I don’t think any of them ever spent nights curled up on the couch with some Lorna Doone cookies and a good Max Stirner book. I seriously doubt they read much of anything outside of maybe a beer-stained Bukowski book or two. But if one is to believe the snuff-spittled rantings of the famous Hillbilly Hot Head, self-styled nihilist and all-around professional “Bad Man,” Jim Goad, both Pig Champion and Jerry A were drunken, thieving, drugged-up, hypocritical Man Mountains of amorality. Specifically, Goad claims that a certain Tom Roberts (aka Pig Champion) ratted him out to the fuzz, resulting in Goad landing in jail for an extra zealous bit of performance art wherein he beat up his girlfriend. Particularly bad form, says Jimbo, for the seemingly earnest composers of several brutal anti-cop/anti-snitch ditties like “The Badge” from the Feel the Darkness album. He also makes more broad claims that, while P.I. bassist Myrtle Tickner was merely a “sweet drunk,” Pig and Jerry were both luridly conniving smack addicts who would turn on anyone for a quick fix. Of course, I have no way to gauge the veracity of Goad’s accusations, but it seems at least plausible that his strident protestations are little more than the attention-getting “I’m-Badder-Than-You” bellowings of a person looking for a little more notoriety to heap on his already “dangerous” reputation. Don’t forget, Jim Goad was a reality TV type personality before reality TV even existed. And, seriously, can anyone with a straight face call Jerry A and Pig Champion gutless? But even if Goad is right in portraying them as dangerously obese back-stabbing junkies, they at least weren’t sickly, simpering little heroin-chic nihilists hunched and on the nod in some dark corner somewhere, watching their own grey drool accumulate in their navels; these were rotund, heavy-breathing brutes whose every blackened fat cell was bursting at the seams with utter nihilistic rage like Momma June—a Goadian Hillbilly heroine herself—bursting at the seams from a particularly gluttonous session of pork rind binge eating. And that comes through each and every song on Kings of Punk like a runaway herd of rutting bull elephants trampling Jeep-fulls of ivory poachers underfoot. What more can be said about this album that hasn’t already been said? Eleven sternum-cracking, just-don’t-give-a-fuck, meat-nado classics from the Billy and Benny McCrary (look ‘em up, you have a smart phone) of hardcore punk and a memorable album cover guaranteed to pop into your mind every time you take a sharp knife and cut up a nice plump hotdog. Plus, with this re-mastered re-release from Southern Lord/TKO, you get an additional all-you-can-eat smorgasbord of previously unreleased live recordings, circa 1984-1986. So with this double disc version of Kings of Punk you can listen to the very dark sounds of raging drunk-junkie nihilism until the cows come home. There are even freshly-penned liner notes from Mr. Jerry A, detailing the back story to the stomach-slicing photo shoot and including a proud profession that he has not mellowed with age and is, in fact, more pissed off than ever. I’ve watched enough classic WWF to know a thinly veiled challenge when I hear one. By the time this issue of Razorcake hits the streets, cocky rapper DMX should’ve already pounded celebrity killer George Zimmerman into Alpo at the Celebrity Boxing event. I say that next up, as a way of promoting their on-going series of “extra gravy” classic Poison Idea re-releases, Southern Lord should try to orchestrate a Celebrity Nihilist Death Match between Jim Goad and Jerry A. And let’s put in a stipulation allowing X-acto knives. Whaddya say guys? Do it for Pig.  –Aphid Peewit (Southern Lord)


PLEASURE LEFTISTS:
Self-titled: 12” EP
Loved their single, and that sentiment is amplified threefold along with the three tracks that accompany the two from the single on this EP. More bass-heavy post-punk for your ear hole, with all-but-unintelligible wailing vocals, loping bass, and danceable-yet-not-dancey rhythms. The tunes are hypnotic and catchy, moody without being out ‘n’ out goth, redolent without being rote. Back slaps all around; they’ve got another winner here.  –jimmy (Deranged)


PETER GUTTERDIGE:
Pure: 2 x LP
Pure is an important reissue. If you’re unfamiliar with Peter Gutteridge, he’s something of an overlooked figure in New Zealand music. He’s been in The Clean, The Chills, and The Great Unwashed—although his main creative outlet has been Snapper. Pure was originally released as a cassette on Bruce Russell’s Xpressway label back in ‘89. (Although defunct, if you’re unacquainted with Xpressway, I cannot recommend the label enough.) Pure finds Gutteridge handling the bulk of instrumentation, with occasional help from Snapper bandmates and George Henderson of The Puddle. Two of the songs on Pure were rerecorded for Snapper’s Buddy EP (1988), but most of the material here is unavailable elsewhere. Puresounds like a Snapper home recording: distorted keyboards and vocals with drum machines (I’m admittedly stretching it here, but think of a gritty version of Stereolab). Gutteridge did his own thing. New Zealand had a very vibrant scene built around jangly guitars and deep pop hooks in the ‘80s. Dubbed the “Dunedin Sound,” it was a very fertile time for NZ music. With Snapper and Pure, Gutteridge created music equally compelling, albeit completely different from most of the records on Flying Nun at the time. Thanks to 540 Records, this hard-to-find cassette is readily available on vinyl (a double LP to boot). The cost of putting this reissue together had to be immense, more of a reason to pick up Pure.  –ryan (540)


PERMANENT RUIN:
Mas Alla De La Muerte: 7”
This is the second 7” for this Bay Area band. I missed the first, and now I have to track that sucker down because this thing is fucking FAN-TAST-IC. The label mentions previous bands these folks have been in (Condenada, In Disgust, Sourpatch) but this band has their own sound and the “ex-members of” tag may even sell them short. The riffs are absolutely raw and raging with a dark, menacing vibe not unlike N/N with sick blast beats that call to mind Despise You. I love the way that the songs don’t break down when you expect and don’t move in the direction they seem to be heading. This is an engaging listen and even though the riffs seem simplistic, it’s certainly not “by the book” hardcore. The lyrics are to-the-point depictions of abuse and reactions. There is a feeling of being broken and lashing out for just causes in the way the lines seem to yell at the protagonist instead of the world, especially on the last track “Corporal Punishment.” There is supposedly a third 7” in the works on Not Normal. I hope these people continue to churn this stuff out and this isn’t just a short-lived side project band.  –Ian Wise (Warthog Speak)


PANZRAM:
Judgment Night Soundtrack: Cassette
Gotta confess I wasn’t expecting much from this cassette based on the packaging. The cover has an ugly-ass foot on it and, along with the title, my mind kind of decided that this was going to be a so-so, pseudo-industrial soundscape. Boy was I ever surprised when I plopped this baby into my vintage 1989 cassette deck. What greeted me was a ferocious mix of Flipper-styled cacophony, downtuned guitars, and some of the most intensely personal lyrics I can remember coming across. It goes without saying then that I freakin’ love this cassette. My only complaint though is that the low-fi nature of the recording really doesn’t do justice to the quieter interludes within the songs. Regardless, this is highly recommended.  –Garrett Barnwell (Human Crush)


PANIC BEATS, THE:
Without Warning: LP
If you took the monomaniacal devotion to form of the Riverdales/Head/maybe Teenage Bottlerocket, dirtied it up somewhat, and added the overgrown adolescent fascination with murder that made the Zodiac Killers so… uh… special, then you’d probably have something reasonably akin to this, although starting things off with an instrumental suggests that the Rip Offs Got a Record played a role in shaping the minds of these leaders of tomorrow. This album includes songs about killing girls’ boyfriends, killing with their girlfriends, and killing with no overt boyfriend/girlfriend component, but, so far, all this record has impelled me to kill is the volume. BEST SONG: “They Call Me Death.” BEST SONG TITLE: “Bash His Brains.” FANTASTIC AMAZING TRIVIA FACT: Cover art by Rick Melton, for those who can’t get enough rumps and knives!  –norb (P. Trash)


PANIC BEATS, THE:
Rest in Pieces: LP
Uninspired, out of tune Ramonescore built on the overdone premise of singing from a violent criminal’s perspective. The market for this stuff is getting a little crowded. It certainly doesn’t inspire confidence that not a single song on this record seems to be made with any effort. I could have sworn I just reviewed an LP by these guys and I’m pretty sure if you took all of the best songs from those two LPs and put them on the same album, you’d have like three songs. I want to like this, I really do, but it’s not pleasant to listen to. Grade: D-.  –Bryan Static (P. Trash)


PAGERIPPER:
Self-titled: 7”
Dense, brief, and crazed while still holding on to an undercurrent of melody. It’s a strange combo, and it works really well here. They’re a great live band, but this 7” does a terrific job at capturing that intriguing “bomb in a roll of bubblewrap” combination. If you took the vocals and whip-smart angularity of Glass And Ashes and combined it with the Sainte Catherines, with all of that band’s effluvia sanded off and whittled down to the essentials, you’d be looking at something like Pageripper. It’s a weird cross-section of sounds that shouldn’t necessarily work, but does. Excellent production: it’s gritty, but layered enough to document the nuances. Thorough packaging. This is a relatively new label, I think, but it’s clear that everyone involved, band and otherwise, put a lot of effort into this release. Recommended.  –keith (Sex Sheet)


PAGE OF PUNK, A:
Fool’s Punk Line: LP
Last year I was floored when A Page Of Punk put twelve songs on one side of a 7”. Well, they’re back with a full-length! A forty-nine song LP! You really gotta be in the right mood (slightly drunk?) for their brand of blasting, over-the-top punk bursts that start and finish with rapid nail-gun precision. Rarely breaking the minute mark, but not without their tempo changes, this isn’t blurrcore, this is punk. Concise and explosive. I love how playful it sounds while still having pisssssed off lyrics. I’ve also heard some wild tales of their live shows, which sound like as much of a spectacle as a forty-nine song LP. In the end, they’re doing such a good job with such a ridiculous premise, you can’t help but love it. Crack a beer or six, strap yourself in, and never forget the lyrics to the song “Keep Rockin’ Fuck Off!” which read as such: “Keep rockin’ / Keep rockin’ / Fuck off!!!”  –Daryl Gussin (Drunken Sailor)


PAGE OF PUNK, A / WEREWOLVES ON MOTORCYCLES:
Japan Tour: 7”
A Page Of Punk starts off with a couple songs of shout-along thrash, then slows it down for some anthemic punk on the final few (Yes, they contributed seven songs to this record). There are gang vocals everywhere, and the music is punchy and clear. It’s impossible not to smile at this, especially “No War No Cry.” From Japan, Werewolves On Motorcycles are from the English town Stoke-on-Trent, which I Googled, and got these recent headlines: “£1 houses: the starting price to bring hope back to Stoke-on-Trent’s streets” and “Is Stoke-on-Trent home to the nation’s worst view?” along with a piece on “badger culling.” Their sound is darker and angrier, with songs about cops and masturbation.  –Chris Terry (Drunken Sailor)


OBNOX:
Three Times Dope EP: 7” EP
Obnox is a rather prolific project from Bim Thomas of Bassholes and This Moment In Black History. I have no idea where this falls on the Obnox trajectory, or whether it reflects the rest of the output under this moniker, but that aside, this one’s got three powerful garage punk rockers with a slight psychedelic bent plainly hidden beneath a lack of fidelity—like champion level lacking. The two originals are stellar, and Obnox offer up a fantastic, personalized cover of the Spiders’ “Don’t Blow Your Mind” that fits well next to Bim’s own work. Huge catalogs are always intimidating to me, but I might just have to investigate into this one a bit more, especially if more of this is possible.  –Vincent Battilana (Southpaw)


NUDES:
Sister: 7” EP
Things start off a-flailin and a-whoopin’, with some hyper-speed thrash setting the pace. Then, however, they immediately shift back into low gear for the remainder of the ride, meting out some heavy hardcore whomps stuffed with paranoia and virulence. Fuckin’ rad, though I’m gonna have a hard time explaining all the fist-sized holes in the wall.  –jimmy (Inimical)


NU,POGODI / CHOOSE YOUR POISON:
Fuck My Womb I’m Calling in Dead: 7”
This is kind of a dream come true for me. One of my most common reviewing techniques is to invent an obscure cartoon and say that the band is named after it, using the theme of the cartoon as a metaphor for what the band is about. But I don’t need to do that with Nu,Pogodi, because the band is actually named after an obscure Russian cartoon about a fucked up, chain-smoking wolf who spends his days chasing after an absurdly wide-eyed rabbit. The band isn’t exactly cartoonish though. Through a pummeling barrage of harsh core, they delve into topics that are all too realistic, about being an outsider and looking for acceptance within. On the other side is Wisconsin’s Choose Your Poison, who deliver “Calling in Dead,” a sweet shout-along hardcore tune, and a couple other fast and wild stompers that are over in the blink of an eye.  –mp (Active Rebellion)


NOTS:
Self-titled: 7”
This EP is on constant rotation. Already had this in my collection before I was asked to review it, so lucky me! Gnarly, all XX, awesome, sloppy garage punk. Bass- and drum-heavy with surfy distorted guitar. Heaven. Has members from Ex-Cult, Manatees, and Moving Finger. Dig any of these bands? Then this is for you!  –Camylle Reynolds (Goner)


NORTH TROLLS:
Sup: LP
This one caught me off guard like a sucker punch to the cranium. I was initially put off by the atrocious cover—a poorly Photoshopped collage featuring an eagle, twenty dollar bills, a pair of assault rifles, a roller coaster, and two greasy slices of pepperoni pizza—but the design may also be brilliant. Atrocious because the resolution blows, brilliant because all those things are the American Dream, right? Right. Besides, the cover lowers all expectations to asubterraneanlevel.But then the first song starts, and it’s immediately infectious. The vocals have the ideal amount of twang and snot, à la Violent Femmes. The sort of slacker angst inflections that make you believe you can sing every note. And you will want to—assuming you can digest tongue-in-cheek silliness. Luckily, North Trolls aren’t musical slackers either as they run the gamut from garage punk to grunge balladry to Cheap Trick pop rock. The varying styles avoid parody, and across the board the choruses are tight and the hooks fit snug. Definitely one of my favorite and most out of the blue pop records of 2013.  –Sean Arenas (No Breaks)


NOFX:
Stoke Extinguisher: 7”/CDEP
I never was a NOFX fan. I never gave them a chance. The people in high school who listened to them never seemed real cool; they were always posers. That being said, I actually liked this. Go figure. The 7” is only two songs, a new track, “Stoke Extinguisher,” and the band’s contribution to The Songs of Tony Sly: A Tribute, titled “The Shortest Pier.”The CDEP and digital versions include four other songs from recent NOFX 7”s. Overall, it’s six songs in thirteen minutes. If you’re a die-hard NOFX fan, then you may prefer the 7” version, since it has the new song and you probably already have the rest of the songs. If you’re like me and have never given NOFX much of a chance, this is a good mix of their recent material and might be worth you checking out. The songs are catchy, some are a little more aggressive, and of course there’s a good dose of humor, too.  –kurt (Fat Wreck Chords)


NIGHTMARE BOYZZZ:
Up All Night: 7”
Finally seeing the light of day on vinyl, Nightmare Boyzzz deliver just the right dose on 7”. Being nearby to their homebase, I’ve been able to catch quite a few NB live sets in many different band incarnations. The live sets have a punky spark with many of the Replacements legendary sets’ qualities (fighting, copious drinking), but I’ve often found them dragging. I’ll take the Boyzzz just like this: one neck breaker and two booty shakers. Fuzzy pop with those West Coast vocal delays and whoah-ohs. The sounds of drinking a twelve pack in your ‘64 Impala and then trying to slow dance with your partner at your senior prom.  –Matt Seward (Fat Sandwich)


NEKROMANTIKER:
Self-titled: LP
To be completely honest with you, I think the vast majority of the current noisecore thing happening is complete garbage. You and your pals may be all foaming at the mouth for the new Slick Turd and the Toilet Bowls mega limited cassette recorded underneath an overpass during rush hour now, but I can safely bet in another year, if even that, you are going to snap out of your stupor and wonder why in the hell you bought all these shitty records. And yet, as much as this genre is filled to the brim with crap, there are some diamonds amongst the refuse. Nekromantiker are one of the few you should actually check out, and even more crazy, buy their records because they do deserve more than a couple spins. Steeped in droning noise and raw as hell execution, there are actual songs underneath the chaos. Some aspects are catchy as well. Check out the bass in the song “Instru-Mental.” On more than a couple occasions I was keeping time and bouncing around the room while listening to this. What I really like is how they incorporate sound effects into the songs and use them as though they are instruments. (Check out “Cocked Up” and the opener “You’re Infected!” for two of the best examples.) Easy comparison would be Confuse. Which I definitely hear, but Nekromantiker aren’t cookie cutter and sound like they’re building on the genre and pushing it forward.  –Matt Average (SPHC)


NEIGHBORHOOD BRATS:
Total Dementia: 7”
I have been thankful to Razorcake for lot of things over the years, but near the top of that list has to be the fateful day that I was sent a copy of the debut EP by (then) San Francisco’s Neighborhood Brats. You can look up my review of that on the database (as well as reviews for every one of their following releases since I became a super-fan) to see how they instantly grabbed me and gave my head and ass a shake. This new 7” is a North American repress of their European tour single from last year and it proves the Brats have no intention of slowing down. If anything, they’re picking up steam coming into 2014 with a new LP in the works. Pick this up and be sure to catch them live. It’s an unforgettable experience!  –ty (Dirtnap)


NEGATIVE TREND:
Self-titled: 7” EP
Every now and then one gets a reissue for review that rightfully elicits a response along the lines of, “Well, great, what the fuck do I say about this that hasn’t been said before?” Such is the case here. This seminal and seriously crucial piece of punk history from the band that spawned both Flipper and the Toiling Midgets is all scuzz, fuzz, venom, and virulence. Not to besmirch his efforts, but if you’re only familiar with Rik L Rik-led versions of “Black and Red,” “Meathouse,” and “Mercenaries” featured on the Beach Blvd. compilation, rest assured you haven’t heard those tunes until you’ve cranked this bad boy up past polite volumes. This has been reissued numerous times in various formats, and this time ‘round you get it in the original format with the original artwork intact. Can’t find the pressing info, but I imagine it’s limited in number, so I’d act fast before you end up banging your head in frustration when you can’t find a copy that doesn’t require you to sell off your first-born.  –jimmy (Superior Viaduct)


NEEDLES//PINS:
Out of This Place: 7”
Every now and then a band comes into your life and you know it is something different and special. The first time I saw Needles//Pins, I had no idea who they were and I was seriously drunk off my ass. I thought they were amazing, bought a record, and I’m sure I slurred their ears off at the merch table. The next day in a (somewhat) more sober state, I put the record on and my jaw dropped. This band is fucking great! There is a lot of great things happening musically north of the 49th parallel and Needles//Pins might well be leading the march. Don’t miss the boat on this one!  –ty (La Ti Da)


MXPX:
Left Coast Punk: 7”
Thanks for reminding me why I haven’t listened to skate punk in five years. It’s hard to believe I received this piece of vinyl for review. Maybe the cultural tide has shifted enough and Razorcake has new readers who aren’t aware of who MXPX are. Allow me to explain. MXPX play songs where the drummer uses the NOFX double bass drum beat, where the guitars follow the vocals to a fault, and the lyrics are sometimes about Jesus. It’s pretty uninteresting. I’ll give the band credit; they haven’t changed into the slowed-down clones of themselves like so many other prominent bands of the ‘90s turned it, but it’s not like they ever released anything worth caring about. Grade: D.  –Bryan Static (Sexy Baby)


MUTOID MAN:
Helium Head: CD/LP
Don’t call it a super group; it’s an awe-inspiring power trip. Mutoid Man (not to be confused with Olympia, Washington’s Mutoid Men) is the duo of Stephen Brodsky (Cave In) on guitar and vocals and Ben Koller (Converge, Acid Tiger, All Pigs Must Die) on drums. Both musicians have taken a bit from each of their respective main acts (Cave In and Converge), showcased some Black Sabbath influence on the guitar and low-end (the album does have bass), and rolled it together to make a tight thrash album. Brodsky’s vocals switch back and forth between screaming (think Before Your Heart Stops-era Cave In) and singing (more recent Cave In), and Koller’s drumming is insane. He is without a doubt one of the best drummers out there in the metal and hardcore scenes. Give this album a few listens, then go back and only focus on Koller’s drumming. It’s so complex and fast. He never takes an easy way out with simple fills. Then listen to the album some more and focus on Brodsky’s guitar playing, which hasn’t sounded this intense and technical in years. An especially noteworthy example of the complexity both members bring can be found on “Friday the 13/8” (written in a crazy 13/8 time signature, hence the title). There’s not one song on this album that is a letdown. All seven tracks bring a force I haven’t heard from many acts in the past few years. The only problem with Helium Head is its brevity. With a running time of seventeen minutes I could’ve stood another three to five tracks. Otherwise, this is fucking brilliant.  –kurt (Magic Bullet)


MUNCIE GIRLS / THE GREAT CYNICS:
Split: 12”
Here you have two of the U.K.’s leading lights in terms of the indie punk scene. The three Muncie Girls tracks are easily the best sounding recordings the band has released. “Everyday” is my clear favorite with its easygoing catchiness and simplicity. It’s a band that you’d never call boisterous but, hell, the songs are a great tonic for whatever ails you as they soothe and caress with a tenderness that is always welcome. Great Cynics is a band I took some time to acclimatize myself to but am now firmly on board these days. Although Giles Bidder’s vocals are distinctive and enjoyable, the highlight for me is when bassist Iona Cairns takes centre stage on “Scarier Area,” which is the stand out track on the record.  –Rich Cocksedge (Specialist Subject)


MR DAD:
Self-titled: 5”
This sweet little morsel of a 5” comes from a scrappy garage punk band out of North Dakota. So how can I say this without this review going to shit, because I don’t think Mr. Dad is shitty at all; they’re pretty damn solid. The vocals have the similar sound and cadence to Zach de la Rocha from Rage Against The Machine… the screechy, good part of Zach de la Rocha, not the pretentious douchey parts. Two solid thrashy alt garage punk songs on this little baby. Cover art is pretty rad. If I found this at a record store I would be intrigued. I would buy. And I would like it, which I do. You probably will, too.  –Camylle Reynolds (Self-released, mr.dadsucks@gmail.com)


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·SHORT, FAST, & LOUD, #17
·QUEST FOR QUINTANA ROO
·ANNE FRANK ZAPPA
·RIK & THE PIGS
·CRIMSON SWEET
·JOHN STAMOS PROJECT, THE
·NOSECONE PROPHETS / SHATTERHAND
·NOTHING IS OVER
·HIGHWAY GIMPS


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